Comic Review – Wonder Woman: Rebirth #1 (DC Comics)

Adam reads as many comics as he can afford. Then he reviews one every other week.

DC’s Rebirth continues this week, and if my total failure to pick up a few of last week’s one shots yesterday is anything to go by, it is going fairly well for them. It’s at least selling well, and most of last week’s Rebirth output seems to be going down positively too (check out Kit’s review of Batman: Rebirth from last week). This week in particular I was looking forward to Wonder Woman: Rebirth, having dropped off the character since the end of Azzarello and Chiang’s New 52 run. The return of Greg Rucka to the series has had a lot of people excited (myself amongst them, as he is one of my favourite writers), and on this issue he was joined by the two art teams of Matthew Clark on pencils, Sean Parsons on inks and Jeremy Colwell on colours for the first 14 pages, and art from Liam Sharp and colours from Laura Martin for the last 6 pages. Jodi Wynne lettered the whole book.


Cover by Sharp & Martin

Wonder Woman: Rebirth is a comic about truth. More specifically the lack of it. Diana of the Amazons finds herself disconnected from the people she is saving, in part because they are unsure of who she really is. And they are not alone. She thinks back on her life up to this point, and much of it is split between two different realities with an uncertainty that goes right back to her birth: was she formed from clay, or is she the daughter Queen Hippolyta and Zeus? Faced with a schism of her own past and questioning her whole life, Wonder Woman uses the Lasso of Truth on herself, tying it around her arm and asks herself who she really is. Diana, princess, daughter of Hippolyta, tenth queen of the Amazons. And she has been deceived. And she intends to find out who has done this to her and, possibly more importantly, why?

This is a story about the fluidity of serialised storytelling and the malleability of the origins of superheroes, but it is also a metatextual look at the inconsistencies and complicated facets of Wonder Woman that appear both presently and in her past. The initial disconnect with the women she saves at the start of the issue represents a disconnect with the audience, which Rucka deftly renders into a story point that leads up to Diana literally crushing and stepping out of symbols of her New 52 guise. In that way, the issue continues the Rebirth theme that someone is fabricating reality. However, here it feels much more personal. Rucka’s Wonder Woman is intensely reflective here, but rather than wallowing in self doubt as the character has recently, she maintains a graceful strength in the face of her doubt with regards to reality itself. It’s this simultaneous intensity and care to her introspection that displays a perfect characterisation from Rucka that will serve as a through line as the story moves forward.

Art by Sharp & Martin

Art by Sharp & Martin

Both of the art teams are very strong in Wonder Woman: Rebirth, and while they are distinct from each other the transition works in a way that feels natural rather than jarring. Clark and Parsons produce a sharp and familiar rendering of Diana (with a superb double page spread of her smashing through the lies), with Colwell’s bright colour palette rounding off the art in the first section that feels rooted in the New 52 stylistically. When she essentially steps out of her New 52 costume and heads to Olympus for answers, the comic switches to Sharp’s slightly finer lines and rich, overgrown visuals that almost moves the whole genre of the book to more of a classical fantasy leaning – something that suits the character and her world just fine. Sharp’s gorgeous art is completed with colours awash with an ominous sunset from Martin, resulting in a dark and brooding tone that makes the air around seem thicker with heat and dread.

When Wonder Woman returns in two weeks it will be as one of DC’s twice-monthly books. Interestingly, Rucka will be splitting these into alternating stories that presumably will intertwine or connect down the line, but will be set at different times in Diana’s life. Each of the two will have a different art team, which will provide an internal consistency within the story while also giving each a great deal of distinction. The first story, set in the present day, is ‘The Lies’. This will presumably be picking up where this Rebirth issue left off and Liam Sharp will be continuing with that. If his work on this issue is anything to go by, that is going to be a hell of a good book and I hope Laura Martin is sticking around to colour it. Issue #2 will be the start of the alternative story ‘Year One!’, which has a reasonably self explanatory title but I expect will go into where some of these lies and fabrications have taken root. This story will be drawn by Rucka’s Black Magick collaborator and all-round excellent artist Nicola Scott, and the preview art shows a much brighter and youthful take that I’m looking forward to just as much.

Wonder Woman #1 cover by Sharp

Wonder Woman #1 cover by Sharp

When DC first announced that several of their books would be going twice-monthly I was worried. After Wonder Woman: Rebirth I’m still worried, but more for my bank account than my ongoing interest in DC Comics. The set up for the series is compelling, but the quality in the whole creative team in this issue and seeing one arm of what is to come working so well here is what will be bringing me back in two weeks. If last week is anything to go by head to your local comic shop soon before it sells out, though I think DC are reprinting all of the Rebirth books anyway so keep an eye out. This is definitely one to check out.

Score: 9 Crushed Helmets out of 10

Indie Comics Review – The Pride #1 (Queer Comix)

Our pal Kit reviews comics for us! This is one of those times.

Warning: minor spoilers.

Billy: “You’re fabulous! I just wish everyone else knew it…”

Fabman: “Maybe someday they will. Maybe someday they will…”

Time to dig into the first indie comic I picked up at True Believers – The Pride #1. This is written and self-published by Joe Glass under the banner of Queer Comix. A small army of artists – Gavin Mitchell, Marc Ellerby and JD Faith, along with Kris Carter on colouring and Kris Anka taking the cover art took care of the images for this comic. Looking at their website you can see many of these artists have quite the professional background, from Dr Who to X-Men. It shows, the front cover drew me to this comic, it has a polished professional look above many indie comics I’ve seen out there. As for the pictures inside, they have again been produced with a high level of professionaliam.

As for the world the comic is set in, it’s depicted as big, whacky crazy old school comic stories take place. In the opening pages we learn that Crabman saved the planet from the angry moon-people out to destroy the world, using a nuclear trout! (Unfortunately Lobsterboy IV died in the explosion, but hey, the public get to vote on who they want for Lobsterboy V!). As you can see there’s a playful tribute to old school comics going on here and the first impression you get is this is a fun, zany world. The thing is, there’s a darker underside to this that many people have to endure. Although Fabman, aka Stephen Wainright, tomorrow’s fabulous man, is celebrated as a hero himself but still faces a hell of a tough battle. As with our world there’s a lot of homophobia and anti-LGBT attitudes in this one.

ThePrideFabman has decided to do something about this, he calls to many of his allies – Frost, The Bear (one of my favourite super powers: that of turning into an actual bear), Angel, Sapphire, White Trash and their newest member Twink – to form The Pride. An all new super team trying to get fair representation for the LGBT community amongst the swarms of other super teams already out doing good in the world.

While this is being put together we get introduced to our first villain, it seems we have a more than slightly evil preacher with monstrous goons they’ll have to deal with eventually.

Finally Fabman seeks out Wolf, who appears to be this world’s Batman. Who’ll need to make a choice, as the Justice Division also have their eye on him.

One thing I really liked about this was how the Fabman feels powerful. He saves a bunch of civilians at the start of the comic and you get the impression that generally he can handle the super hero bit. He’s clearly strong and seems like this world’s Superman. As I mentioned Wolf has a real Batman feel to him and I spotted a few other tributes to big name super heroes throughout. But even though he’s that powerful he still has a real challenge when it comes to the societies he and the other heroes live in.

Final Verdict

As you can tell I enjoyed this a lot. The plot so far has been very simple, more to be a vehicle for the character interactions and their personalities than major twists so far. My main criticism would be it almost feels like too much is packed into the first issue. There are a lot of characters here I’d love to get to know more. If the comic had been paced over two books we could have had a little more background/history on each of them which would have been great, though if that wasn’t an option then just a couple more text boxes with a note on how they got their powers or a little more info on who they are would have been perfect.

If The Pride sounds like your sort of thing, check out all of the issues here or on Comixology!

Final Score – 8.75 Slam Dunked Drug Dealers out of 10!